10 Most Powerful Rules in Music Publishing Every Artist Should Know

Updated: Sep 12




10 Most Powerful Rules in Music Publishing Every Artist Should Know By Joya Owens-Jenkins

Updated: Aug 15Do you have a design in mind for your blog? Whether you prefer a trendy postcard look or you’re going for a more editorial style blog - there’s a stunning layout for everyone. This guide is free for a limited time, because I am releasing my first hardcover book, 50 Laws of Music and this section will cover publishing. I’m only adding publishing and social media marketing because the book currently consists of bite sized anecdotes and I want to make the two most important sections, mind-blowing so enjoy it while it’s available :-) This quick and easy rule guide will help you (if you retain this information), navigate your way into a great recording deal or the ultimate independent career as a recording Artist, because your music publishing is the most valuable asset you can have as an artist (one of them). So, take notes and commit this to memory! Let’s go! 1. Understand the frame work of songs Songs are the star of this show. When we talk abut publishing, we are really talking about the songs. But the first and most important thing for music publishing is understanding the framework of a song. In a song you have the composition and the recording. The composition is made up of lyrics and music but, can include only lyrics. The Composition can render mechanical royalties and performance royalties. The Recording can render digital performance royalties and MASTER RECORDING REVENUE “THE RECORDING CAN RENDER DIGITAL PERFORMANCE ROYALTIES & MASTER RECORDING REVENUE”. 2. MASTER RECORDING CAN HAVE MORE THAN ONE VERSION. BUT THERE CAN NEVER BE MORE THAN ONE OF ANY VERSION Did you follow that? In other words, when you master a song, you can have the Accapella version, the instrumental version, the radio mix , etc. And of those versions I just named, there can never be a duplicate. For example, if there is a radio mix, you cannot have two Radio mixes of the Master Recording. Master recording royalties are collected from the Label. And if you are indie, that means you. 3. The songwriter is king/queen Yes, the Songwriter is the lyricist but, they can also be the publisher (or not). This part depends on you. And here is my advice (unsolicited of course), but I think you should always have a Publisher’s account. Always keep in mind the Songwriter contributes to the sound recording, but doesn’t necessarily own the masters. We’ll get to more on that later. 4. The song is equivalent to currency Yes, I said it. When you think of a song, think of it as if it’s being printed from the federal reserve. Because the royalty collections organizations certainly do. The earnings from the song can be publishing or royalties. In the industry we call all check from ASCAP publishing checks but this is incorrect. You have Writer’s royalties and publishing royalties. Get into it. 5. When you produce write and perform the song, it’s awesome, but the industry doesn’t really think so. Why? Because you’re going to have your hand in too many pots. And if you’re taking all the money that you’re rightfully entitled to, they’ll be nothing left for the vultures.lol. That aside, Artists like Chloe Bailey, Bjork and other producer/performers are not eligible for Awards because being the producer and the artist disqualifies you as a recipient…. 6. TBA 7. TBA 8. TBA 9. TBA 10. TBA About the Author Joya Owens is an American Singer/Songwriter and Entrepreneur with over 20 years of Music and Entertainment experience across more than10 countries Independently. She's worked with brands like Fox Network, BET and Ford. She was elected, Detroit-Network Leader of the Global Organization NABFEME (National Association of Black Females in Music and Entertainment) and now Partners with brands like The Grammy’s Musicares, General Assembly, ASCAP and Fiverr for events on Music, Finance, STEM, Mental Health/Wellness and Entrepreneurship. As the Founder of The Friendship Society, Joya speaks on Leadership and Monetization for Independent Creatives inside Music, Film and Technology. She is also signed with Kobalt Music as a Songwriter and Music Publisher.



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